Today I got to talk about rhythm visualization in general and the Groove Pizza in particular at the Spotify Monthly Music Hackathon. Click the image to see my talk, I start at 1:23:47.
Here are my slides:
Want me to come to your school, company, meetup or whatever, and do this talk? Or something like it? Get in touch.
While my son’s birth has been the most joyous event of my life, he has put a serious damper on my and Anna’s concert-going. I tell my musician friends: I’ll happily come to your gig, as long as it’s on a Sunday afternoon with walking distance of my apartment. Well, today, Björk obliged us by doing exactly that.
Anna and I have been to two of her shows previously, and both were delightful experiences, but they were also in support of her two weakest albums (Volta and Biophilia.) This time, however, Björk is touring with Vulnicura, a beautiful set of songs, her best work since Medúlla and a welcome return to the sonic palette of Homogenic. Here’s my favorite track:
Much as I love it, I thought it would be improved by adding samples of Marvin Gaye, the Yeah Yeah Yeahs, and the bassist on Paul Simon’s Graceland.
I was reading this super valuable post by Rob Walker listing different strategies for how to pay attention. Deep attention makes the difference between looking at something and actually seeing it. Rob is talking mostly to visual artists and designers, but his methods work well for musicians too–seeing is to looking as hearing is to listening. Paying attention is the most basic skill an artist needs in any medium, and one of the most basic skills a person needs in life. Not only does artistic practice require attention, but it also helps you learn it. When you look critically at a painting or listen critically to a song, you’re disciplining your attentional system.
Being able to focus deeply has its obvious practical benefits, but it’s also an invaluable tool for making your emotional life more manageable. It’s significant to me that the image below appears in two different Wikipedia articles: attention and flow.
When people ask why we should study the arts, the attention argument is the best answer. The variety of deep attention known as mindfulness is a powerful antidepressant. Teaching the arts isn’t just about cultural preservation and transmission; it’s also a cost-effective public health measure. Music isn’t the only method for practicing your attention, but it’s one of the best. This post will address my preferred method for focusing my musical attention: the infinite loop.
Well, it’s official. All of my students are now henceforth required to post all music assignments on SoundCloud. It solves so many problems! No fumbling with thumb drives, no sharing of huge files, no annoyances with incompatible DAWs. No need to mess with audio-hostile Learning Management Systems. Everyone gets to listen to everyone else’s music. And best of all, the kids get into the habit of exposing their creative work to the blunt indifference of the public at large. Students can comment on and fave each others’ tracks, and so can randos on the web. It really takes the “academic” out of academic work.
For the benefit of Play With Your Music participants and anyone else we end up teaching basic audio production to, MusEDLab intern Robin Chakrabarti and I created this video on recording audio in less-than-ideal environments.
This video is itself quite a DIY production, shot and edited in less than twenty-four hours, with minimal discussion beforehand and zero rehearsal. Continue reading
I’m continuing to crank out educational videos for Play With Your Music. Part of the process involves remaking old videos as both my chops and the facilities in NYU’s Blended Learning Lab improve. Here’s my series on the basics of rhythm:
We’ve made several improvements, some technical, some creative. The most immediately noticeable one is multiple camera angles. NYU’s Blended Learning Lab now has three cameras instead of just one. We can now cut back and forth between various angles, rather than showing a continuous talking head shot. It doesn’t seem like it would make such a big difference, but it does.
You may have noticed a lot of writing about Peter Gabriel on the blog lately. This is because I’ve been hard at work with Alex Ruthmann, the NYU MusEDLab, and the crack team at Peer To Peer University on a brand new online class that uses some of Peter’s eighties classics to teach audio production. We’re delighted to announce that the class is finished and ready to launch.
Here’s Alex’s video introduction:
Last week I put together a new set of music theory videos.
These videos are aimed at participants in Play With Your Music, who may want to start producing their own music or remixes and have no idea where to start. I’m presuming that the viewer has no formal background, no piano skills and no reading ability. This would seem to be an unpromising place to start making music from, but there’s a surprising lot you can do just by fumbling around on a MIDI keyboard. Playing the white keys only gives you the seven modes of the C major scale, with seven very different emotional qualities. Playing the black keys only gives you the G♭ major and E♭ minor pentatonic scales. From there, you can effortlessly transpose your MIDI data into any key you want.
I’ve been producing a bunch of new videos for future iterations of Play With Your Music, with the help of the good people at the NYU Blended Learning Lab. So far, we’ve done two sets. There’s a series of tutorials on producing samples, beats and melodies using the in-browser digital audio workstation Soundation:
I was looking at a collection of perfectly looped gifs on Buzzfeed and thinking about how they remind me of sample-based electronic music. In both cases, you’re taking a piece of a linear recording and making it cyclical. Do it wrong and it’s extremely irritating. Do it right and it’s mesmerizing. I’ve given a lot of thought to how looping a segment of audio changes its meaning, but am only just starting to think about the visual equivalent.